Paris

Large catalan Virgin of the Annunciation in polychrome wood. Our Virgin is represented in the phase of the Conturbatio, Mary expresses her amazement a...

A fascinating portrait dating from circa 1695-1700 with wonderful provenance: it belonged to the British industrialist Leonard Pelham Lee (1903–1980) and hung in his manor house in W...

Very pretty tapestry of 17th century Bruxelles Thanks to our Restoration-Conservation workshop and also Our know-how, we are pleased to present to yo...

As Florence Ingersoll-Smouse wrote in 1921 in her book devoted to Jean-Baptiste Pater, "a painter of the Fête galante, Pater is interesting both by his intimacy with Watteau, to whom many of his works are still attributed, and by his own value as an artist.” This sanguine, full of life and spontaneity, is typical of the preparatory studies made by the painter to be used later in the composition of his paintings. 1. Jean-Baptiste Pater, pupil and disciple of Antoine Watteau Antoine Pater, Jean-Baptiste's father, belonged to the petty bourgeoisie of Valenciennes where he worked as a merchant-sculptor. His brother Jacques was a local painter who was probably involved in his nephew's training. Born on December 29, 1695, Jean-Baptiste Pater was first trained with Jean-Baptiste Guider, a local painter whose death in 1711 was probably the reason for Jean-Baptiste’s departure alongside Watteau, who was visiting Valenciennes. Watteau's difficult character led to their separation in 1713. Back in Valenciennes, Jean-Baptiste Pater encountered difficulties with the powerful Corporation of Saint-Luke (to which he refused to belong) which forced him to return to Paris in 1718. He reconciled with Watteau shortly before his death (on July 18th 1721), inherited the commissions that Watteau had been unable to fulfil and completed some of his paintings. Pater was accepted by the Académie Royale in 1725 but did not produce his reception painting The soldier’s revels until three years later. Throughout his brief career (he died at the age of forty on July 25th 1736), he mainly had a clientele of amateurs and received only one royal commission, shortly before his death. 2. Description of the drawing and related artworks Pater had adopted his master Watteau's method of composition. His study drawings were carefully glued in a notebook and were used to animate his compositions. His paintings sometimes suffer from a somewhat artificial composition, since the figures seem to be pasted one next to the other. This point has also been made about Watteau’s. The theme of military scenes (which was at the time included in the genre of Fêtes galantes!) was one of Pater’s favourite subjects. Together with the Bathing Women...

Chest of drawers Murano glass set of 2, with all structure in solid palisander wood with veneered finishes, all the chest is covereed with white Mur...

Large and imposing pendant presenting an agate slice studded with a root motif in yellow gold. Dimensions: 67.49 x 86.51 x 11.20 mm ( 2.657 x 3.406 x 0.44...

Robert Malaval (1937 - 1980) is a French artist. Painter, designer and writer, he constantly sought to renew his work, composing with materials as unusu...

The technique of this luminous architectural drawing with its rigorous perspective is perfectly representative of the creations of the Venetian school’s 18th century vedutists. Simil...

1106 - a very beautiful 18th century Aubusson tapestry with very pretty color.

Beautiful Saint-Jean in oak wood carved from the Gothic period. Standing, his left leg bent, he is dressed in a dress tied at the waist with a belt and a coat with a chest strap. The...

This small landscape shows a hunting scene: two riders are chasing a stag with their dogs at the edge of a forest. Signed by Peter von Bemmel, it is typical of the production of this...

Large Virgin and Child in carved wood, carved back. Sitting on a throne bench, Mary carries Christ seated on her left knee. The Virgin has a face with stylized features with semicircular eyebrow arches, almond-shaped eyes with protruding eyeballs. Marie is wearing a belted dress with a simple neckline and a coat with a flap that goes back to the front. Tiny traces of polychromy. Romanesque influences are still present. With her protruding eyes, she can also be compared to the statuary of Lake Constance. Our Virgin, rare for its size, nevertheless presents strong analogies with the Italian Sedes Sapientiae...

Lithograph, 1957 Edition : 4/175 Publisher : Nesto Jacometti / L ‘Œuvre gravée (Paris – Zürich) Printer : Jean Pons (Paris) Catalog : 32 63.00 cm. x 48.00 cm. 24.8 in. x 18.9 in. (p...

Large Virgin and Child in oak from the end of the 13th century or beginning of the 14th century. The plasticity of the faces and of Christ evoke the 13th century (the face of the Virgin evokes the face of the Romanesque Sedes Sapientiae...

Each panel : Each panel = Height : 206 cm (81,1 in.) ; Width : 56 cm (22 in.) ; Depth : 4 cm (1,5 in.) Beautiful set of four tapestries representing children’s pastorals, woven by the Beauvais Manufacture on cardboards by F. Boucher, inspired by his serie of paintings delivered around 1751 to the marquise de Pompadour for her Château de Crécy...

Neo classical school, France, end of the 18th Century Allegory of Time, Pen and black ink on paper, gray ink wash 30.5 x 19 cm irregularly shaped In g...

Portrait painting Oil on canvas mounted on wood panel Dimensions with frame : 55 x 69 x 5 cm Tears and gaps in the canvas (see photos)

This fresh sanguine sheet presents various studies placed next to each other in no apparent order. Two of the feet studies are preparatory to the first major commission received by the young Baldassare Franceschini, shortly after his installation in Florence, the frescoes for the Medici Fastes. This cycle was executed between 1636 and 1646 for the Villa La Petraia, a Medici villa on the outskirts of Florence, which allows us to date this sheet to the artist's youth. 1. The Medici Fastes, the first major commission for a young artist Born in Volterra in 1611, the town from which he took his nickname, Baldassare Franceschini apprenticed with his father, a sculptor of alabaster, one of his home town's specialities, and studied with Cosimo Daddi (1540-1630), a local artist. The Marquis Inghirami, who spotted his talent, sent him to the workshop of Matteo Rosselli (1578 - 1650) in Florence, which was also attended by Francesco Furini (1603 - 1646). In 1636, Lorenzo de' Medici, the youngest son of Ferdinand Ier and Christine of Lorraine, chose the 25-year-old artist, again on the advice of the Marquis Inghirami, to decorate with frescoes the loggias of the inner courtyard of the Villa La Petraia, which he had just inherited on the death of his mother. The project lasted about ten years and included ten scenes placed symmetrically in two loggias on either side of the courtyard: four main scenes and six placed above the doors, each to the glory of a member of the Medici family. This decoration was his major secular project, but Volterrano also executed several religious frescoes and a few easel paintings, often with less success. Among the religious commissions, we can cite the dome of the Colloredo chapel dedicated to Saint Lucy...

1077 - 18th century tapestry from the Aubusson Manufacture. Representation The Capture Of Birds Perfect state of conservation.

Louis-Félix de La Rue (1730-1777)  A biblical or mythological episode Signed and dated lower right (under the mount, see photos of the drawing out of frame) ...

Rare wooden polychrome Virgin and Child from the French Catalonia region representing a Virgo Lactans (nursing Madonna). Before this discovery, only 3 medieval nursing madonnas were ...

Pilgrim or saint Jacques figure in sculpted and polychromed limestone. He holds a calabash in his left hand. He probably held the pilgrim's staff in his missing right hand. Very beau...

These four plaques represent either domestic (a horse, two rams) or exotic animals (a rhinoceros and an elephant). Made on slate slabs cut to shape (a rectangle with concave angles), they are all based on the same narrative scheme: in a frame of Egyptian porphyry, an animal in multicoloured marble is represented advancing on a green marble floor, standing out against a black slate background. These plates were made in Italy, probably in Florence or in Rome, during the 18th century. We think that their primary purpose was to decorate the drawers of a cabinet. Like many other compositions in hard stone, these plaques were inspired by engravings that were a widespread decorative repertoire in the workshops. Three of the plaques presented here were directly inspired by works by Antonio Tempesta (1555 - 1630): the Rhinoceros, the Polish Horse...

This rare capital of the first Romanesque art presents an ox mask on one side, a monster mask on the adjacent side and two rosettes on the other sides. ...

German school from XVIth century Saint Acharius et saint Camomus, circa 1500 Oil on panel Unsigned On wooden panel size 85 x 54 cm (c. 33 x 21 in) Provenance : Private collection, ...

Francesco Vanni is one of the last representatives of the long Sienese pictorial tradition. In this masterly composition in pen and ink wash, he presents the Virgin of the Rosary, holding the Child Jesus on her lap, surrounded on her right by Saint Dominic and on her left by Saint Catherine of Siena. The presence of these two emblematic saints of the Dominican order is a reminder of the devotion of this order to the Rosary. 1. Francesco Vanni, a Sienese painter of the Counter-Reformation Francesco Vanni was the most important Sienese painter of the late sixteenth century and a key Italian Counter-Reformation painter. He developed a very specific style, inspired not by Florentine models but rather by the Roman, Bolognese and Marche schools, and in particular by the work of his contemporary Federico Barocci (Urbino 1535 - 1612), despite the two artists never meeting. Francesco Vanni was born in Siena around 1563-1564. His father died in 1567 and his mother remarried Arcangelo Salimbeni (1536 - 1579), then one of Siena’s leading painters. His half-brother Ventura Salembini (1568 - 1613) also became a well-known painter. He continued his apprenticeship in Bologna and Rome, where he joined the painter Giovanni de Vecchi’s (1536 - 1614) studio, where he was greatly influenced, like other Tuscan painters of the time, by the art of Federico Barocci. He devoted himself mainly to religious painting, following the canons of the Counter-Reformation. Travelling between Siena, Rome, Bologna and Parma, in 1604, he settled in Siena, where he ended his life. Vanni was also an important member of the Confraternity of the Sacro Chiodo, renowned for its demanding religious practices. His legacy also includes some important engraved work. 2. Description of the artwork The Virgin is depicted enthroned in majesty, slightly taller than the other figures that she dominates from her pedestal. Her wide robe with marked folds evokes Renaissance statuary. She is crowned by two angels in the sky. These two angels are a reminder of the custom of adding angels to crown 13th century icons which was frequent at Vanni’s time. The Child Jesus is standing on the Virgin’s right knee. With her left hand she holds out a rosary to Catherine of Siena, identifiable by a branch of lily in her hand. In a symmetrical gesture, the Child Jesus also holds out a rosary to St Dominic. Two of St Dominic’s attributes are to be found at the foot of the Virgin: a book and a branch of lilies. Vanni gives particularly delicate treatment to St. Dominic's long and slender hands. The two outstretched rosaries form the link between the heavenly register of the Virgin and the Child Jesus and the earthly register of the two Dominicans who are not crowned with a halo. This and the fact they are followed by a large crowd, indicates that they are both represented as part of the multitude of the living called to pray to the Rosary. According to the classical iconographic tradition, it would be plausible to consider that the figure looking at the viewer on the extreme left of the drawing could be a self-portrait of the painter. Francesco Vanni's face is known to us from a self-portrait kept in the Pinacoteca Nazionale in Siena. The squaring of the drawing suggests that it was used for a larger-scale altarpiece, probably for a church dedicated to St Dominic or for a Dominican convent. As of today, we have not identified the painting for which this drawing served as a preparatory modello. The Madonna of the Rosary in the Cathedral of Pitigliano (painted by Francesco Vanni in 1609) differs quite significantly from our drawing by the addition of Pope Pius V, and the inclusion of St. Dominic and St. Catherine in the celestial register. We believe that our drawing predates this painting because of its more symmetrical composition, and less Baroque influence. The presence of Saint Catherine of Siena, particularly venerated in his native town, to which Francesco Vanni returned frequently from 1590 onwards, leads us to propose a date of around 1590 - 1600 for this drawing. 3. The Rosary and the Dominican Order In order to clarify the iconographic meaning of this artwork, it is worth recalling the role of Saint Dominic in the spread of the Rosary prayer. Dominic Nuñez de Guzman was born around 1170 in Caleruega (near Burgos) in Spain and died in 1221 in Bologna, Italy. He was the founder of the order of friar preachers, commonly known as the Dominicans. He was canonised by the Church in 1234 and has since been celebrated under the name of Saint Dominic. After three days of prayer in the forest of Bouconne, near Toulouse, Dominic is said to have received the Rosary as a means of converting the Cathar population. The Dominicans subsequently made a special effort to promote this form of meditative prayer. Pope Pius V, a Dominican, included the feast of the Rosary (on October 7th) in the liturgical calendar in 1571. Rosary prayer has evolved over the centuries and traditionally consists of the recitation of three rosaries (four since St John Paul II). Each rosary consists of five tens of "Hail Mary...

This painting, created during Zuccarelli's stay in England, represents the decisive moment when Macbeth, together with Banquo, meets the three witches who announce that he will be Ki...

The Pearl Lady, most probably Elisabeth of Bohem, Princess Palatine. Oil on board signed Honthorst, dated 1644 Within a beautiful tortoise shell With a certificate by René Millet ( Well Known French Expert in Paris) The young unknown portrait shows the talent of the artist. We will appreciate the quality of glazed face, the light in the beads and the psychological analysis of the model. We almost read the character of the model. This type of face is found throughout the valley of the Rhin, Switzerland, the Netherlands. Our beauty is flirtatious and love beautiful pearls, symbol of fidelity. And so the large barocco pearl, the earrings, the necklace, the adornment in her hair; all attest of the prosperity. Gerrit Van Honthorst was born in 1590 and died 1656. His career is divided into two very different parts. In the first part of his life he is The “Night Master”, "Cavaragesque" painter, that the Italian nicknamed GUERARDO OF THE NOTTE. This period mainly Roman, which will influence LA TOUR and REMBRAND overshadowed the rest of his work. Indeed, it has been forgotten today; but when GUERARDO DE LA NOTTE returned to Utrecht, he became a fashionable portrait's painter. Radical changes without knowing the real reasons although it is often forgotten that a painter like everyone needs to survive ... Especially since the death of Van Dyck has opened the road to our artist who will rush into exploiting it. He is called to the court of Charles I, in London, where he will paint the king and the nobles of the court. In 1637, he moved to The Hague and become Van Dyck's official successor for the Netherlands and all Europe. Gerrit van Honthorst’s night paintings caused such a sensation in Rome that he was known as Gherardo delle Notti...

Attributed to Francesco Casanova (1727-1803), A Mamluk fighting on his horse, watercolor and ink on paper 35 x 26 cm In quite good condition : yellowed by time as visible on the photographs. Vintage frame with little damages (see photographs please), the mat and the back have been recently changed. 54 x 44 cm The first indication about attribution was given by the name indicated on the vintage frame with what could look as a mistake about the date of death of the artist, if the exact date of Francesco Casanova'death was not known with certainty. It's estimated he died at the beginning of the 19th century, Maybe in 1803, 1805 or as late as 1807. The style and execution are really close to the artist's known compositions, the way he draws the horse for example. Francesco Giuseppe Casanova was an Italian painter who specialised in battle scenes. His older brother was Giacomo Casanova, the famous adventurer, and his younger brother was Giovanni Casanova; also a well-known painter. He was born in London, and returned to Venice when he was still young,upon his brother Giovanni's advice, he went to Paris and became an apprentice of Charles Parrocel. As a result of favourable criticism from Denis Diderot, he began to receive commissions from the aristocracy. His fame soon spread eastward and he received commissions from Catherine the Great for the Hermitage, beginning in 1768. Two years later, he produced his four famous "disaster paintings...

This is an antique Japanese bento box from Edo era which was used for cherry blossom viewing party. It is made with bamboo and painted with ...

Here Gaspard Dughet offers us an idyllic vision of the Roman countryside. The stages follow one another in a perfectly structured composition, revealing here a lake, there travellers walking along, gradually leading our eye to the blue horizon. But behind its classical composition, this landscape is particularly interesting because of three anthropomorphic details that the artist has hidden, opening the way to a radically different interpretation... 1. Gaspard Dughet, a landscape artist in the light of Poussin Gaspard Dughet was born on June 4th, 1615 in Rome where his father, of French origin, was a pastry cook. He was probably named Gaspard in honour of his godfather Baron Gaspard de Morant, who was, or may have been, his father's employer. His older sister Jeanne married the painter Nicolas Poussin (1594 - 1655) on September 1st, 1630. The young Gaspard was apprenticed with his brother-in-law at the beginning of 1631, which led his entourage to name him Gaspard Poussin. The first preserved works of the painter date from the years 1633-1634 and were painted in Poussin’s studio. Around 1635, Gaspard Dughet became emancipated and began to frequent the Bamboccianti circle. In 1636, he became friends with the painter Jean Miel (1599 - 1656), but also with Pier Francesco Mola (1612 - 1666) and Pietro da Cortona (1596 - 1669). This was also the time of his first trips throughout Italy. The painter, although of French origin, appears never to have visited France. In 1646 he settled permanently in Rome. A recognized painter with a solid book of orders, he remained faithful to landscape painting throughout his life, alternating between cabinet paintings and large decorative commissions, using both oil and fresco. Nailed to his bed by rheumatic fever at the age of 58, he died on May 25, 1675. 2. Discovering an idealized landscape Beyond a relatively dark foreground that takes us into the landscape, we discover a vast bluish horizon: a plateau surrounded by deep ravines advances to the right, overhanging an expanse of water that sparkles below. A road winds through a mountainous mass as if leading us to the fortress that crowns it; another town appears in the distance at the foot of three conical mountains. The composition is rigorous, mineral, and structured by geometric volumes. The various stages in the landscape lead one to the next attracting the eye towards the horizon located in the middle of the canvas. The general impression is that of a welcoming and serene nature. In many places the paint layer has shrunk, or become transparent, revealing the dark red preparation with which the canvas was covered and accentuating the contrasts. Human presence is limited to three jack players, leaning against a mound in the foreground. Their long garments, which may evoke Roman togas, contribute to the timelessness of the scene. Close examination of the canvas reveals two other travellers on the path winding between the rocks. Made tiny by the distance, their introduction in the middle register, typical of Dughet's art, lengthens the perspective. While it is difficult to date the work of a painter who devoted his entire life to the representation of landscapes, it is certain that this painting is a work from his later years. The trees that occupied the foreground of his youthful compositions have been relegated to the sides, a stretch of water separates us from the arid mountains counterbalanced by two trees represented on the opposite bank. The introduction of this stretch of water in the middle of the landscape betrays the influence of the Bolognese and in particular of the Dominiquin (1581 - 1641) A number of similarities with a drawing in the British Museum might suggest a date around 1656-1657, since, according to Marie-Nicole Boisclair , it has been compared with the Prado's Landscape with the Repentant Magdalene, painted at that period. 3. Three amazing anthropomorphic details While some late Renaissance landscapes offer a radical double reading, allowing one to see both a face or a human body behind the representation of a landscape, it seems interesting to us to hypothesize that Gaspard Dughet had fun here by slipping in a few details that, taken in isolation, evoke human or animal figures. We will give three examples, looking closely at a cloud, the trunk of a broken tree and the top of a cliff. The main cloud could thus evoke a Christ-like face or that of an antique god...

In this painting, Gabriel de Saint-Aubin, the great chronicler of the reign of Louis XV, takes us to the annual parade of the Swiss Guards at the Plaine de...

Pendant China - Ming period (1368-1644) Green jade with brown shades, carved and incised.

Fragment of a right foot, Roman period, 3rd century AD, sculpture, antiquities 3rd century AD Hollow cast bronze Provenance : Collection of Nicolas K...

These authentic Louis XVI period armchairs, original and authentic, seduced me by their modernity. Very rare with their original cream lacquer, flat and square back "à la Reine", with their strict armrests and highly visible assembly, straight legs turned into quivers in the shape of a column tapered down and fluted. The foot ends in a dice that rests on the ground, while the top is cubic is decorated with a circular molding pattern quite rare contrary to the rosette pattern often used for copies - The queen chairs have perfect proportions in their elegant silhouette. In general, I am only interested in design and contemporary pieces, but in the course of my peregrinations I sometimes come across pieces that do not leave me indifferent. As for the lyres chairs, the baccarat chandelier and the large golden mirror...

George EDWARDS Bird and beetle ('The Gowry Bird') Original engraving, enhanced with watercolor Printed signature in the plate Dated, 1741 28.8 x 23.3 cm Created for Volume I of the...

Wall light leaves set of two in pure handcrafted Murano crystal glass. Art Deco style. Exceptional piece. Measures: L 24 x D 17.5 x H 67.5cm/piece. Unit price: 2900,00€ Set of two pr...

Epée de Cour Epoque: Louis XV Garde en acier ciselée en fort relief, à fonds d’or, décorée de trophées militaires. Fusée filigranée, forte lame triangulaire bleuie et dorée au ti...

George EDWARDS Traveling animals Original engraving enhanced with watercolor Signed in the plate and dated, 1746 28.6 x 23.5 cm From Volume II of the Natural History of Birds, plat...

YOU HAVE THE POSSIBILITY TO BUY A PAIR OR MORE CHAIRS. IMPORTANT : THIS LOUIS XVI CHAIRS ARE NOT A COPIES BUT 100% ORIGINALS !! Exceptional set of Louis XVI lyre chairs in lacquered wood, a prized model and symbol of refinement in the 18th century. While these chairs are unstamped, their details are strongly reminiscent of a production by Jacob: finessed sculpture with sophisticated grooves…these proportions are perfect and light, a touch of exquisite taste. These chairs feature ancient lacquer in two tones (white with blue highlights) The seats have been restored The assembly of these chairs has been checked and remains solid - The original trim on the springs and straps have been preserved and remain in good condition. The chairs stayed in the same family and the laque is in it original vintage statement and has been very good preserved. These chairs are covered with a luxurious silk a blue gray and silver combination that perfectly matches the original lacquer from Maison Tassinari and Chatel...

1048 - 17th century Tapestry village festival. Thanks to our Restoration-Conservation workshop and also Our know-how, we are pleased to present to you works of art in fabric such as...

Charming Louis XV period Rocaille planter in chiseled and gilded bronze, scalloped with asymmetrical decoration of acanthus leaves and scrolls, and an openwork shell in its center. A...

Banker lamp with a green and removable lampshade.

Column small petrified wood A in solid petrified wood from Indonesia. Petrified wood has turned into stone. Trees have been buried for many years under sediment they transitioned int...

In this lively and fresh drawing, probably taken from one of the artist's notebooks, Pajou presents us with a composition freely inspired by antiquity, as a souvenir of a visit to th...

French (?) school circa 1770 Portrait of a Lady in a Tondo, red chalk on paper 20 x 29 cm Numbered 25 on the upper left Little holes in the bottom (intended for binding) Not framed ...

Vintage Chanel earrings clips in gold metal and rhinestones in the center. In good condition. Some traces on the walleye. Made in France, 80's. S private sales engraved on the back o...

With three lights, this lantern is a mix between the sleek design of a modern lantern and a Classic design with its decorative pine cone decorative touch.

This dual-light wall lamp is emblematic with carving details that evoque a hunter's quiver of arrows.

"Flambeau" wall lamp, Louis XV period.

Oriental Saber, called Shashmir Ottoman Empire, late 18th century Handle in horn, silver mounted, Damascus blade, scabbard garnished of black leathe...

This crystal chandelier with twelve lights represents the quintessence of classic style as its peak in the seventeenth century. It is adorned by more than a hundred of bohemian crys...

This bronze lantern with six lights is simple and elegant, its raw design matches well with all interiors.

Wall lamp with a pleated lampshade.

Girandole three lights with cristal.

This old gold finish wall sconce represents a half lantern with four lights. The carvings and fine details make it an exceptional Classic piece.

Saturne table Maxime Old, 1961 Size: 59" x 18.11" Cuba mahogany wood and glass in the center Saturne table has been made in 1961 by Maxime Old for the VIP lounge of Marseille-Marig...

This lantern has three lights and entirely made of bronze. It is adorned with several carving details and gilding which give it a royal look.

This chandelier has six lights and is made exclusively of bronze. Its old gold finish and the many details that adorn its branches make it an exceptional lighting...

Oriental saber, also called Shamshir Ottoman Empire, late 18th century  Handle in horn, silver mounted, Damascus blade, scabbard garnished of black ...